TARQ is delighted to present Pratap Morey’s first solo exhibition

TARQ is delighted to present Pratap Morey’s first solo exhibition — ‘measure | decipher.’ Comprising several new works, ‘measure | decipher’ seeks to examine the artist’s preoccupation with changing geographies of urban spaces. Pratap has lived and worked in Mumbai for the most part of his life, and has been constantly displaced by the city’s shifting façades. He seeks inspiration from his immediate surroundings, exploring the spatial existence of its residents and the dualism of a colossal urban sprawl where vacant spaces are rapidly transformed into formidable structures.
 

Artist: Pratap Morey

The artist uses a combination of digital photographic images, archival prints, architectural drawings and engravings in his intricate paper works. Each work delves into the overarching themes of construction, redevelopment and displacement — which are immediate concerns in a contemporary urban environment. The radical proliferation of urban spaces is an urgency that Pratap’s practice abstracts and presents to the viewer in his version of relief sculpture. The structural elevations in his works are restrained deliberations to amplify and reveal movement and metamorphosis as well as create an illusion of voids. He uses the structural nature of his works as a tool to create space, utilizing formal structures like corners and the three-point perspective to draw the viewer into each of his works.

According to architect Kaiwan Mehta, “The absurdity of the gap between the real and the projected is played out as drawings sit on photographs, measuring and deciphering a reality that is everyday and there, yet not acknowledged, recognisable but never accounted, never drawn out as a documentation of the life and cities we occupy - making reality - unreal. As the real and unreal, material and surreal, shape our spaces of existence and living, the non-architectural architecture that shapes the city emerges in the concreteness of architectural drawings.

Recent work by Pratap Morey

The sense of distance we adopt towards our everyday living, finding refuge in landscapes of dream- trajectories, produces cities that exist (only) in the realms of near-fictional domains and topographies, while the everyday material world, with its material-reality gets relegated to a topography of denial, the urgent wish to de-recognise it out of some sense of shame or refutation. This space we exist (and live) in between insistent occupation of a projected fantasy and the hurried denial of the everyday reality produces citizens that have lost a sense of measure - the measure of what it means to participate in human worlds, life and death, reflections and arguments, files and books, sleepwalking and reading 

Recent work by Pratap Morey

we start living in delirious worlds! Morey's landscapes are an attempt to decipher these delirious worlds and cities we are all living in.”

ABOUT THE ARTIST

Pratap Morey is a Mumbai-based artist with a post-graduate diploma in Indian Aesthetics from Mumbai University and a graduate degree in Fine Art from Vasai Vikasini College of Visual Arts.

Pratap has participated in several curated group shows, including The Unbearable Closeness of Being at Gallery Engendered, New Delhi (2015); the Art on Paper biennale at the Weatherspoon Art Museum, North Carolina, USA (2014); Interstices at the Kochi-Muziris Biennale (2012); Stop Making Sense at False Ceiling Gallery, Mumbai (2012); and @rt Virtually Real at Art Alive Gallery, New Delhi (2012) among others. His art fair participation includes United Art Fair, curated by MeeraMenezes, New Delhi (2013), and India Art Fair, New Delhi (2013), represented by Art Alive Gallery.

He has participated in residencies at institutions such as the Harmony Art Foundation, India (2015); the Artists-In-Residence programme hosted by the President of India at the RashtrapatiBhavan, New Delhi (2014); CRACK International Residency, Bangladesh (2013); Space 118, Mumbai (2012); and Uttarayan Art Foundation, Vadodara (2012), and is also the recipient of the Bendre-Husain- Scholarship, India (2013) and the La Critique award at Salon des RéalitésNouvelles, France (2012).

TARQ
F35/36, DhanrajMahal, C.S.M. Marg, Apollo Bunder, Colaba, Mumbai 400 001 +91 22 6615 0424 | info@tarq.in | www.tarq.in
A division of Aurora Contemporary Art Pvt. Ltd.

Image courtesy: Abner Fernandes & TARQ

 

Clinging to manifest emotional ties - Pick one artist Solo show By Ashok Hinge

Ashok Hinge‘s involvement with black ink and one stroke paintings have worked wonders. With the time, his art has intensified to the extent that it seems he has developed his own language of ‘stroked alphabets’ especially drawn in black ink. I have been following his paintings and appreciate his spontaneous expressions. His passion for black has also made such an intense impression that it is hard to imagine the images in colour other than black ink.

(Artist Ashok Hinge file photo cop right Art Blogazine.com)

Coming up online solo exhibition at Pick-one artist online gallery is an extension of his established style of painting. All the paintings are done in Chinese black ink. In this series he presents his concepts in novel and unique way of twisting and turning creepers and climbers in human forms. These people seem to be in tête-à-tête with each other.

Though I know that he has passion for mundane activities and people, I still decided to peep in his thoughts for shaping creepers and climbers in such a unique way. He enthusiastically spoke about his work.

Like every other work it is a continuous entity, I had first thought of how to paint it till the end effect. The creepers from nature inspired me and shaped my images without break. Therefore you do not find layers of patches, whatever is created is at one go, keeping in mind that theme should also project the base i.e. the entirety of creepers. 

This work is the abstraction of creeper, weak steamed plants those can grow nicely with the support. We too are social animals and rely on each other for living and survival just like these plants. We, human beings also start growing with the support of Gurus and guides who help us grow and feel alive. Without support or guidance you keep struggling on the ground and sometimes you feel dead too. Life is beautiful when you are with good people and Gurus.  Otherwise you are no less than live-dead bodies.

(Recent work on www.pickoneartist.com)

But life is not just black and white, it is colourful. Painters express themselves using varied hues. I was curious to know his personal view about colours that play major role in creating the aura and emotional set up of the concept, and what was his take on using single black ink? Didn’t it put restrictions on emoting the feelings? To this, he was quickly reacted saying, No, limiting my work in black ink do not hinder the expressions. As I always say, displaying maximum using minimal has more lucidity. I love to make use of minimal widens the scope for viewers, as they have wider scope to analyse and admire paintings according to their sensibility. I am not against use of colours but at the moment if I use colours I will feel the escapist who is not able to state exactly what I feel.

(Ashok Hinge inspired by Illustrator Andy Warhol was one of the most prolific and popular artists of his time, using both avant-garde and highly commercial sensibilities.)  Copyright Photo courtesy by http://www.biography.com/

When asked about artists migrating in painting profession from commercial field, he said, I was also Commercial designer and did Calligraphy. One thing that we should not forget is that being in commercial field also involved creative thinking, but the only difference was that of approach- It was more target oriented. So I can say that creativity is not new and has continued till date, in fact became more matured in terms of expressing Self. The difference is, now I do not have target audience and viewers are free to interpret and admire my work at their will. USP doesn’t matter because it is entirely subjective concept whether accepted or not. Being in commercial creativity had not only extracted my creative output for targets, but during that phase I learnt abstractions of words with meanings associated to them and their charismatic allure drew me to put the words in images. Back then and till date I like simplicity in my images. To my bliss, people too liked this simplicity and complimented me by asking to see more of such creations. Thereon my journey as a painter started and now I am completely involved in it. My art is well supported by art-lovers and great contemporary artists. So indirectly, I can say I am a Shishyaof all my Gurus-critics (good/bad), who have guided and oriented me to be thoughtful throughout my career.

I enjoy this freedom of expression and plan to explore deeper in the mysteries of creativity. 

Pick one Artist invite 
Log on solo show: 1st Nov to 30th Nov 2015

www.pickoneartist.com

By Pankaja JK.

ArtBlogazine.com

Poster

POP ART: REFLECTION OF THE PROCESS OF CHANGE.

As an artist, I evolved from painting popular images, contemporary miniatures to Sculpting exquisite bikinis and devising equally intricate chastity belts.

My creative and artistic impressions of the popular art all along, is social statement too. Artists live in a pluralistic world, reflecting and expressing this pluralism in their art. An artist like any other sensitive human being can be as disturbed by the suffering, natural calamities, death in humanity as he/she can draw inspiration from feminine beauty which is an integral part of pluralism.

Read More about

http://www.durgakainthola.com/

Compendium of Thoughts- Paintings by Vijay Achrekar

Nothing is larger than Life. Abstract art presents its definition and vastness metaphorically. “Let my art speak for me.”, was a subdued answer given by the artist to me, when I asked him to speak about his art. Truly, his visual expression is excellent and captivating. His thoughtfulness is clearly seen in his paintings. A gold medalist from LS. Raheja College was determined to be an artist from his early childhood. 

Starting with realistic expressions, he has now progressed onto express in abstract form. His entire career journey shows us that he is inspired to paint what he sees around, whether beauty or harsh realities. Paintings are his personal reactions and anticipations of situations.

He paints each and any subject that strikes his thoughts and urges him to express his thoughts on it, in visual form. The common vibe of all paintings are, the clarity and beauty. 

Expression are uncomplicated and can be easily interpreted without hassle. His experimentation with varied topics have been impressive because of the various techniques that he adopts. In this series we find that he has used mason’s tool, the trowel, not only for smoothening the texture of canvas, but its form is also seen in the painting that can be interpreted as the symbol of a reason or influence that would help levelling, spreading peace in upheaval order of today’s state of nation. 

 Artist Vijay Achrekar (copyright image by artist)

He is aware that people are distracted and disturbed by wrong influences and are getting detached from social interactions due to self-centred motives. This must be immediately controlled. No! But wiped away completely for having good will and peace around. To represent this thought, he paints triangles. Triangle is basically, a geometrically represented metaphor of developmental, cultural and social psychology.  It also shows relation between individuals and individual and society. In one of his paintings two triangles are joined at one angle, so it is quite possible that artist is hopeful to find a way to bring harmony in the society. Thus, anticipating the peaceful future.

 

(Recent work by Vijay Achrekar)

Along with the effective concept, artist also concentrates on basic necessity of abstract creation i.e. use of colours. He deliberately uses vibrant colours. Different colours are combined for perfect intensity and it becomes more effective with his improvised technique of smoothening the surface of canvas before painting, to give a free flow and suave effect.   

Right from his student days, his art has always made an impression on the viewer; provoking some or the other kind of reaction. Brushing off the positive or negative reaction, he is gratified by their interest in his creations. He carries on painting his thoughts with serenity without bothering about consequences. Since he does not follow any ‘ism’ or great artist, his art is free from any influence. Whatever strikes his mind and appeals him to express, is put on the canvas. He always experiments using new techniques to enhance his work. His overall journey as an artist shows his profound interest in realistic subjects and not imaginative or world of fantasy.  

By Pankaja JK.

ArtBlogazine.com

Devotion and Art for Social Welfare: By Pankaja Jk

Ganapati Bappa Morya!

Air is filled with this devotional call. It’s five days since Ganesh festival has started. There is peaceful aura and happiness all around, least the intrusion of loud, unbearable and non- devotional music and songs.

Every pandal and household having Ganesha, brings forth sense of spirituality. There is a kind of magical spell in the idols of this Lord of knowledge. The eyes seem to speak to devotees, understand their feelings and develop hope to have happiness and peace.

My content is not exactly about the beauty of Ganesha’s idol, but its social and environmental value. Much is spoken about environment- friendly Ganesha’s idol. Many people have realized the importance of buying idol made of soluble sand (Shadu- Devnagari script), instead of plaster-of-Paris.

What about social cause? There is an example set by simple, common yet social-sensitive lady.  The noble and eye-catching act that is making rounds on social-networking sites is the Ganesha’s idol made of Chocolate by the same lady to whom I am dedicating this article.

Unknown lady with great idea of making Lord Ganesha

The lady, maybe an artist herself, from Pune (unfortunately her name is not known) is said to create Ganesha’s of chocolate and she immerses this idol on the last day, as per ritual and custom, not in water but in milk! Yes, the chocolate idol is immersed in milk and after it is dissolved, she serves the same chocolate milk to poor children. What a noble act! It is an out-way-thought of spreading happiness.

Though we all know that by feeding the poor children with such milk, once in a year will not bring great change in their health. But here, worth considering is her consideration and social responsibility. Along with celebration she also gets involved in great act. Her Devotion, Celebration and Art is so admirable that it should be considered by people

 Lord Ganesha Visarjan 

Art is said to represent society, but if it is used to help and bring smile on faces then it is more valuable than its basic function. This lady has proved it by shaping chocolate into Ganesha’s idol and then feeding the same chocolate in milk to poor. . I am sure God and poor children must be showering loads of blessings on her.

I also know that at many places and every year idols are made of fruits, vegetable and eatable items. But that are huge idols, publicly displayed, generally to hoard publicity and display of art. Practically, art can be admired in galleries. Let it be. The point is these idols are not the personal ones, set at home, like this one. This lady has proved that devotion and art can be used for immediate good cause. I am and we all should be proud of such people. 

By Pankaja Jk

Artist Sudarshan Shetty chosen Artistic Director and Curator of the third edition of Kochi-Muziris Biennale.

( Copyright by Art Blogazine.com/ 2015 )

Reena Kallat. Woven Chronicles, her solo project currently on display at Offsite, Vancouver Art Gallery has intrigued visitors from all over the world.

Woven Chronicles and Other Stories, An Encounter with Reena Kallat. Woven Chronicles, her solo project currently on display at Offsite, Vancouver Art Gallery has intrigued visitors from all over the world. Reena uses material very imaginatively imbuing it with conceptual nuances, incorporating drawing, photography, video and sculpture. She will discuss her work, and the thoughts and ideas that inspire it.

 The programme is part of the CSMVS and the JNAF'S efforts to engage more actively with practitioners of modern and contemporary art and provide a space for audiences to connect with them.

Do join us on the 16th of September at 5.30 pm at the Visitors' Centre. Tea will be served at 5pm.

Unpacking the Studio: Celebrating the Jehangir Sabavala Bequest.

We are delighted to invite you to attend the opening of the next exhibition at the Jehangir Nicholson Gallery

Unpacking the Studio: Celebrating the Jehangir Sabavala  Bequest.  Mrs. Shirin Sabavala’s generous donation to the CSMVS, of her husband’s rich archive of diaries, sketchbooks, portfolio of drawings, books and photographs, has made this exhibition possible.

The show has been curated by his biographer Ranjit Hoskote, and dramatizes the intimate relationship between the studio, the academy and the gallery in Sabavala’s career.

Do join us for the opening on 15th September at the Seminar hall, on the first floor of the Museum, followed by tea and a viewing of the exhibition at the Jehangir Nicholson gallery, on the second floor.

Chhatrapati Shivaji Maharaj Vastu Sangrahalaya,

159/161 Mahatma Gandhi Road,

Fort, Mumbai - 400023

I am a firm believer in letting my work speak for itself,” Durga Kainthola

Artist Durga Kainthola may very well be India’s answer to Andy Warhol , exhibited her paintings in a Solo exhibition at gallery 7 in 2005 “The Art Factory 2" ,tribute to the great American pop artist Andy Warhol. The modern  artist’s first International Solo Exhibition in the year 2004 at Holland Art Gallery, Amsterdam" Art Factory-I ". The organisers of the exhibition were overawed by the universal appeal of Kainthola’s miniatures in gouache on hand-made paper and bought all the fifty works she exhibited .The gallery made 200 silkscreen of one of her work . On her admiration for Warhol, Kainthola says, “It was in 1982 that I first saw a Marilyn Monroe diptych by Warhol in a book at the Sir.J.J.school of Art library.However, understanding the spirit of Warhol’s work and letting it seep into my work was a   journey My miniatures is a culmination of that journey.” Like Warhol, Kainthola too keeps the context of her work contemporary while Warhol’s portrayals ranged from  Monroe to politics to Campbell soup cans, Kainthola’s range from New York burning 9/11 to the Myriad moods from all over the world  and India at it's best.

Durga Kainthola

A Subtle Shade of Humour runs though her paintings. In The Painter’s Studio, Kainthola’s own face acts as the canvas.Goddess Comes To New York, the first piece in the ‘Art Factory’ series, is a forerunner of the digitally enhanced works to come “My dream of going to New York remains unfulfilled. So I sent the Goddess Shakti there, “Says Kainthola. With a glint  of mischief in her eyes. Warhol is omnipresent in most works of this series. For example, The Last Judgement is Kainthola’s  version of Eve being banished from paradise with Dali’s soft clock in the centre of the canvas – a  reminder of time standing still, not just for Eve but for women in general. Warhole remains in the background, as a reminder of the higher

side of life. “My work s grounded in history, but its context is contemporary life. I am a firm believer in letting my work speak for itself,” observes Kainthola of the stimulating juxtaposition of ancient history and contemporary symbolism in her  work.The artist’s canvas boasts a varled vocabulary. Picasso’s Guernica, Saddam Hussain’s hand holding up a gun, Vermeer, Amrita Shergil, Aishwarya Rai, Andy Warhol, Marilyn Monroe, Salvador Dali, Shakti, Nefertiti etc are all deeply entrenched in her  renditions. So what prompts Kainthola to depict a particular personality or event in her work? “They Have to capture my imagination before I can capture them in my art,” surmises Kainthola succinctly.

Recent works by Durga Kainthola 

My work is documenting history as a reflexion of the process of change: Exploring myriad levels of visual imagery, juxtaposing iconographic detail drawn from the ancient and modern art both Indian and from the west, then moved into the fluid realm of active, syncopated three-dimensional visualization sequencing idiosyncratic language and perception. 

This journey into multi-media, moving imagery carries the broader dimensions of energy infused with contemporary metaphor. Mirrored in the highly polychrome written and painted signboards, modern enactments of miniatures, illuminated neon lit sign, the quotidian transforms into the surreal. Inspired by the works of not just the great artists of the world but by popular culture as well.

Relating to images that impinge on my consciousness with an analytic eye and a wry sense of humour. Thecontemporary miniature in gouache titled “Warhol and the History of Art” form part of an ongoing series since 2001,incorporating elements of theatricality of iconic figures from several epochs and cultures. 

With each passing years, my subjects of popular images have gradually diverged from painting to social statements wherein female beauty with time has metamorphosed into a marketable commodity, widely advertised across the globe under the thinly veiled guise of contests by multinational corporate and women magazines.Many of us are conditioned within the patriarchal mindset . 

Exploring multi-media into my work of art, through new media my work has evolved to a spontaneous and dramatic re-interpretation “Samkaleen Adunik kala”.

- Durga Kainthola

Recent works by Durga Kainthola 

Durga Kainthola graduated from  Sir. J. J. School of Art in Bombay and post-graduated at Maharaja Sayajirao University in Baroda, India. Her paintings have been exhibited throughout the past 20 years all over India and abroad. Her recent solo exhibition was held in Amsterdam and Hong Kong. One of her source for inspiration is the Pop Art movement of the 1950s in the US and UK. She explored a wider vision of the world where mass media, advertising and popular culture mingled with history, be it film, politics or soup cans. Kainthola has been described as “India’s answer to Andy Warhol”. She lives & works in Delhi.

Durga Kainthola( from Lelf side seating first) at J J School of Fine Art 1990

Portraits tell stories. They capture and freeze moments in the past to form part of the present and show the way to the future. Self- portrait, portraits of artists, mythological characters and creative persons from diverse fields have never failed to fascinate me as an artist. For me, they define a kind of a visual diary that is not confined within limits of time, space or color but is a continuous process that grows along with my personal growth as an artist. I try to bring across a fusion of contemporary images and mythology. Calligraphy is an integral part of my portraits. I blend print and mixed media to explore the borders of both traditional and modern technology.

Creative Drawings, cartoons, new media,Video art are hunting for alternative art by Endoscopy of Mumbai Artists- Tathi Premchand

Always thought of Art, ever thought of artist? Yes, I have been nagged by this question since a few months and take a serious note of it. Truly, artists reflect society in their creation. But what provokes them to involve themselves in this social act? What inspires them? Some reflect beauty, some grave facts and some mundane activities; but a common thread that binds them is the Power of Representation. This inspiration and power is their sheer inner instinct. One may learn the skill with external guidance and practice, but creativity cannot be taught. 

Tathi Premchand- Artist Curator

I am instigated to find out exactly what stirs the creativity in artist. One of my like-minded friend and artist like me, Rajendra Patil, also revealed the same drive to explore the core of artists. So he readily decided to be the mentor and co-ordinator of the show and examine the psyche of artists. Together we named this show as ‘Endoscopy’. Just as in endoscopy, the hollow body organ is examined, so do we intend to study the thoughts and views of artists. We have been in this field and practising painting since decades and our experience and maturity in this field have helped us spot some of the genuine artistic brains and provide them common platform to showcase their work.  

I am always enthusiastic and eager to work with young generation, as I finds them inclined towards using novel techniques and new media to enhance their work. They strive to be different and original. 

Pratik P Bakshi

This is not the first time that I am coupling with younger spirit, I had curated the first show in 2005. Back then, artist from various states were involved. But, as I mentioned above, ‘Endoscopy’ is a special show, highlighting the artist basically living and working in Mumbai city. These artists bring into limelight the life, space and pace of the ever changing and fast pacing world. Their perspective is novel and an intricate weave of estimable and speculative notions. We find new media skilfully used to present their ideas. 

I think it is not enough just to admire the art works of these artist, it is the time to admire and cheer the will, anxiety and placidity of these artists. Their allegiance with the art is admirable and deserves gratulatory address.   

Come to celebrate and admire the unfeigned gratitude expressed by Mumbai’s artist in their art, on August 22, 2015, at Art Gate, Mumbai. 

Tathi Premchand,

Artist Curator. 

showcasing Artists

TEJA GAVANKAR, NANDAKISHORE NANA TATAR,  ROHEN DUMBRE

VINIT LAWANDE, PARTIK P BAKSHI, AKANKSHA KHANNA
VINEET UPADHYAY, SALIK ANSARI, KIRAN PRAKASJI, SUKRAAT TIWARI, ASHWAM SALOKHE, MEHER AFROZ VAHID

Join me and enjoy this cultural shower by the Mumbai artist

With the natural showers on, all the galleries are enthralled with enthusiasm and are set to arrange Monsoon shows. Art Gate a recently opened gallery atChurchgate, Mumbai, too plans to arrange a monsoon show with the artist students from J.J.School of Art, Raheja Art College, Rachana School of Art and Amity University.  My self, Rajendra Patil has assumed the responsibility of being the mentor and co-ordinator of this show called ‘Endoscopy’. 

Show ‘Endoscopy’ has resulted from the very modest thought of arranging a show by assembling artists who are still in the formative stages and pursuing their degree in Art, i.e. the students of Art.  I belong to same field and has been pursuing career as an art educator and also following my passion for creation through my art works, since more than three decades. Being close to the zeal and enthusiasm of new generation I believe they have substantial potentiality. I also observe new media has entered the field and young artists make deliberate and profound use of it in their creations. The after-effects are not only noticeable but mind blowing too. 

I am happy with the intervention of technology, but also feel the need that as an artist and responsible representativeof the society, every artist must try to be rooted the  culture and tradition of his/her own country along with being global citizen and treading the path of modernization. Therefore I have selected a few artist who are modern in their approach and yet dedicated to their native art, culture and tradition. I have tried to observe and study the cultural furore that deeply courses in them. The result is seen in their creations. The show involves artists residing and working in Mumbai. The city, where there is diversity in people, tradition, culture and strata and all these elements enhance the beauty of Mumbai. It is necessary that we should nurture this deeply rooted culture and tradition to maintain our uniqueness in the world. Established artist have tried their hands at keeping it alive but novel perspectives of budding artists have to be considered and admired by giving a common platform to these tech-prone young artists. These artists will present their uncommon perspective. They have a curatorial approach.

Recent work by Salik Ansari

Every ritual has a scientific reason, right from praying elements of nature to the man- made rituals. To prove it, let us consider the simple yet compulsory ritual of applying vermilion by married Hindu woman on forehead and hair parting on head, what does it signify? The so-called modern thinkers laugh at it and consider it only as a part of make up by married woman, to look attractive and signify that they are married. But studies have proved vermilion as beneficial from scientific angle. It seems  that original vermilion contains mercury, the only metal in liquid form. It keeps the mind cool and the position where it is filled on head has the most sensitive part of mind underneath, and it has to be kept calm and composed from health point of view. So this mercury acts as healer. Then why only married ladies use it? The reason is apt, that, a girl is a carefree soul before marriage but as the wedding bell rings she becomes a responsible lady with lot of burdens and tensions. She has to keep herself cool to be a good home maker and so this ritual. Likewise, if we consider worshipping animals like snake, bullocks, and cows and so on, we know that these animals are life givers, many are friends of farmers. As ours is an agricultural country, it is obvious that reverence is paid to friend-animals. Even the inanimate things like account books, farming tools, gadgets are worshipped because they are important parts of profession. Family relations are given special importance and celebrated as special days. Apart from the national festivals, there are days in a year when great men like freedom fighter, saints and philosophers are remembered and their birth and death anniversary is celebrated. All these unique things need to be highlighted in art. 

Frankly, no book or syllabus teaches you to do this. This is absolutely a non-academic matter. Artists are never taught to think about it. But it is completely a subjective passion. I expected and haunted for exactly this sensibility in the students. I wanted their passion for art should excel beyond ready made knowledge provided by guides and educators. They should be sensitive to the vast treasure of art that is found among the folklore and make an attempt to give it a beautiful image; present the culture imbibed in folk art; bring into limelight the importance of various celebration.

In my search for cultural beacon lights, I spotted some of the most sensitive artist students who nurture interest in projecting cultural sensibility and hopefully the curators of traditional treasure.

Join me and enjoy this cultural shower by the Mumbai artist and get drenched in it on 22nd August 2015, at Art Gate Gallery, Churchgate, Mumbai. 

By Pankaja JK- Art Blogazine

SALIK ANSARI

Everyday technical appliances connected to the production of images are departure point and subject of my investigation. I am interested in the alienation of familiar spaces which can be achieved by the juxtaposition of appearance of reality on itself.  The point where the appearance starts manipulating the reality and creates a dialogue of exchange between them interests me.

I explore the aesthetic functionality of objects (screen, projection) and contemplate on the way they can be perceived differently. The works can be seen as self-referential. It also makes way for interpretation beyond the rational into surreal and poetic realms.

VINIT LAWANDE

I am Vinit Lawande,
I have completed my art college from Rachana Sansad  Fine Art. Mumbai.
I am sharing my ideas and artwork for viewing first time in a gallery in the city
Through the border between the artist and the audience, I desire to depict the world both in visual and spiritual sense.In my belief, art is what drew me nearer to the world, yet helped me see it from a different perspective.
I seek to create works that express the genuine self, the world, and its spiritual presence. Through these ideas,I continuously develop a symphony between colors, shapes, portions, ground and mediums. However,the physical elements are not the only relationships which have been bonded through this progress. The work itself and I, the space and energy and never-ending cycle of questions from the mind continues to build the art that I have built until now.
The “process” becomes the significant feature of the a formal work. It does not start ideal, but with the act of making the picture itself. 

The process seeks to disrupt around and intention for the work and chance becomes important feature .The spontaneous, unrehearsed gesture supplants the self-conscious and rehearsed.

Wheels of Possession.

Wheels of possession a procedural session in material substances and symbols of visual communication exercised in objects. It defines systematic planning and organization of literal matter into specified objects, references of situations occurred in past and present,current & creative connections of symbols objects and mixed media for expressing feeling and nature of events in minimal visual appearance.  
The ability to express, create and exercise structure and object to co relate memoric events stored 
in devices and storages. A mechanical and physical approach with minimal appearance cultivated in administrative material and reflections born from judicial order in aesthetic stimulus to communicate social
intelligence in reality. Gesture to judgement and acceptance of optical and mental awareness, speech and retaliation to judgement are collaborated in time. Feeling and stillness are constructed in space and 
relation of the self is mysterious if let ignored. 

TEJA GAVANKAR

She has recently done her P. G. Diploma in Painting from Faculty of Fine Art, M.S.U. Baroda, in 2014 and Diploma in Drawing and Painting from L.S. Raheja School of Arts, Bandra in 2006. She has also completed certificate course in Aesthetics from Kalina Unversity in 2011 and Dip. A. Ed. From J.J. School of Art in 2008.Mainly interested in drawing, her urge is to make drawings, finding the clandestine beauty in space or void as well. 

She is interested in subverting mundane spaces and adding a new perception to them. She intends to look at spaces as mental states and prefers to make use of existing materials or situations rather than bringing new material into the place.Teja attended an artist residency at the Darling Foundry, Montreal from September to November,2014. She was recently awarded the 'Nasreen Mohamedi' award in the MVA Display, M.S.U.Baroda, 2014. Teja has also participated at 'Khoj Peers Share' ‘Activating Space’ program, at Khoj,Delhi, 2014 and 2015. Currently working as a visiting lecturer at L.S.Raheja School of Art(Fine Art), Bandra and had also worked at Rachana\ Sansad School of Art and Craft, Mumbai as an assistant lecturer for 18 months. Teja lives and

works in Mumbai.

NEWS UPDATE FOR PRESS ALL OVER INDIA

PRESS RELEASE Exhibition

 Endoscopy of Mumbai Artists at Art Gate Gallery

Exhibition details: 22nd to 28th August 2015-11am to 7 pm

Art Gate Gallery- 1st Floor (above Satyam Collection) Chheda Sadan 115, J Tata Road Churchgate Mumbai, India